With Season 3 premiering next month, we’ve decided to celebrate Mr. Peachfuzz’s bright future by coming up with a list ranking all 12 episodes of the show. After all, while I don’t think that there’s a single bad episode here, some of these murderous yarns are more memorable than others, so we might as well try to identify the best of the best!

As usual, this list is purely based on personal opinion, but don’t forget to comment below with your own ranking if you disagree.

With that out of the way, let’s stock up on Juicy Fruit and dive into the list.

12. Elliot – Season 1 (2024)

As I mentioned above, I don’t think there’s a single bad episode of The Creep Tapes – Season 1’s “Elliot” just has the rotten luck of being slightly less creative than the rest of the show due to it adhering to the established formula without adding anything new.

While I love the subtext about how both Elliot and “The Skydiver” have similar interests when it comes to stalking their subjects from a distance, there’s a lot more fun to be had in future episodes.

11. Brad – Season 1 (2024)

One of the show’s first meta experiments, “Brad” had Duplass’ charming killer take the form of a deranged fan of a documentary filmmaker played by Heart Eyes and Werewolves Within director Josh Ruben.

While the episode’s true-crime setup is downright genius, I actually think that this concept would have worked better as a feature-length Creep film rather than a shortform yarn, and that’s why “Brad” remains on the bottom half of the list despite being a fun time.

10. Nick – Season 2 (2025)

Another unfortunate case of a great idea being undercut by the small-screen format, our first Creep Tapes Christmas Special is still an undeniably great piece of television. Unfortunately, 20-something minutes just doesn’t feel like enough time to properly develop Duplass’ fake therapist persona and the Silent Night Deadly Night–inspired evil Santa shenanigans.

Of course, watching our killer protagonist speedrun his way through an experimental therapy session is still one hell of a fun ride.

9. Ava – Season 2 (2025)

Ava also suffers from the recurring problem of feeling a little too similar to some of the stories that preceded it, but this Tiger King-inspired thriller manages to overcome its formulaic structure by hinting at a larger mythos through the animal toys while also ending with a bonkers kill. This one also features Duplass at his most comical, with this vegan animal lover persona being one of his character’s greatest disguises.

That being said, I still refuse to believe that Sara is dead!

8. Mike – Season 1 (2024)

A stellar debut that proved that The Creep Tapes wasn’t going to be any less intense than the movies it’s based on, “Mike” was both a killer introduction to Duplass’ character for folks who weren’t familiar with his M.O. as well as a fun standalone hunt.

The episode is admittedly a rehash of ideas already present in the films (a necessary evil when you consider that this is essentially a pilot), but the snowy atmosphere and legitimately intense rapport between our leads make this a solid entry in the Creep saga.

7. Jeremy – Season 1 (2024)

Watching Mark Duplass play an evil priest while messing with a bad-faith amateur journalist is already fun, but the added references to exorcism movies make this a highly entertaining piece of religious horror.

The final chase here is also appropriately chilling, and that’s why I’d argue that “Jeremy” is one of Season 1’s best offerings.

6. Brandt – Season 1 (2024)

“Brandt” is the trippiest episode of the show by a wide margin, with this bizarre story providing fans with our first look at the Peachfuzz Killer in an intimate situation where he isn’t playing a character meant to deceive victims.

It may not benefit from a ton of action (though the shots where Duplass acts against himself are phenomenal), but this one-man bottle episode is bizarre and riveting in equal measure.

5. Wes – Season 2 (2025)

I was actually excited to see The Creep Tapes parody a home renovation show, but the twist here ended up being even better than anything I could have possibly anticipated.

A brilliant take on how serial killers’ manipulative tendencies allow them to easily navigate law enforcement, Wes is one of the show’s most thrilling episodes that also happens to contain one of Duplass’ overall best performances!

4. Mark – Season 2 (2025)

The Creep series is at its best when Aaron/Josef/Peachfuzz fully indulges in his filmmaking fantasies, so a meta episode paying homage to the long-running Saw franchise was bound to be incredibly entertaining.

The only reason that I don’t rank this one any higher is that, once again, I don’t think 22 minutes is enough time to thoroughly satirize all of the recurring tropes that plague the Saw series!

3. Mom (and Albert) – Season 1 (2024)

Popular culture has thoroughly explored the idea that serial killers tend to have mommy issues, but few horror stories dare to go into the eerie details of what a warped mother-son relationship might actually look like.

“Mom (and Albert)” is a rare exception, with this darkly humorous (and thoroughly uncomfortable) exploration of our protagonist’s backstory hinting that his penchant for murder is only a symptom of much deeper issues.

2. Angela – Season 2 (2025)

A sequel of sorts to “Mom (and Albert)”, “Angela” finally gives us more information about the wife/sister that was briefly mentioned all the way back in 2015’s Creep.

However, what really makes this episode so damn memorable, other than Duplass’ hilarious rapport with real-life spouse Katie Aselton, is the way that it makes you question everything that came before. In fact, Angela’s suggestion that her brother/lover’s mommy issues may have been manufactured reminds me of that Joker quote about how the villain prefers his past to be multiple choice, with this added bit of mythology making The Creep Tapes even more fascinating.

1. Joseph – Season 2 (2025)

Another meta masterpiece, “Joseph” is the perfect mix of the classic Creep formula with a post-modern twist. In this excellent Season 2 debut, Mark Duplass becomes the victim of a copycat serial killer played by fan-favorite David Dastmalchian.

What follows is a loose remake of the original Creep film that culminates in a classic example of why super-fans should never meet their heroes. I would have loved to see this concept stretched out over a feature-length runtime, but this is still my personal favorite episode of the entire show!

The post Ranking All 12 ‘The Creep Tapes’ Episodes Ahead of Season 3 appeared first on Bloody Disgusting!.

The outlet reports that Josh Ruben’s Green Bank finally begins production this week, with Brittany O’Grady, Kumail Nanjiani, Jim Belushi, Tatiana Maslany and Taylor John Smith starring. Maslany had been attached when the project was first announced back in 2023, but the previously announced Jasmin Savoy Brown (Scream) is now off the project.

The Hollywood Reporter details, “Green Bank is set in Green Bank, West Virginia, a real world town that has been known since the late 1950s for having a “quiet zone” that severely limits radio and electronic transmissions due to scientific research being conducted in the area. It has since been expanded to include Wi-Fi and cell service.”

“Brittany O’Grady is playing the lead of the story, which follows an infant sleep-trainer who discovers that the parents of the child she is caring for are far more than the clueless yuppies they appear to be,” The Hollywood Reporter’s exclusive update continues.

In addition to her role in “The White Lotus,” you might know Brittany O’Grady from genre films including Black Christmas (2019) and It’s What’s Inside. She’ll next be seen in Monitor.

Aaron Horwitz (The Cleansing Hour) wrote Green Bank.

Greg Nicotero and his KNB EFX Group are handling the film’s creature effects.

Green Bank comes from Pangaea Studios, Big Swell Entertainment and Nocturnal Kid.

The post Josh Ruben’s Horror Movie ‘Green Bank’ Casts Brittany O’Grady, Kumail Nanjiani and More appeared first on Bloody Disgusting!.

Deadline reports that Ruben is attached to helm an adaptation of Matt Query and Harrison Query‘s horror novel Wilderness Reform for Paramount.

The plot centers on a wilderness camp for troubled teens that is plagued by mysterious events and disappearances, taking survival and discipline to a frightening extreme.

Ruben is overseeing a script draft by Steve Desmond & Michael Sherman (Knock at the Cabin).

Pet Sematary: Bloodlines writer-director Lindsey Beer will produce through her production company Lab Brew, which has a first-look deal with the studio, alongside Scott Glassgold through his 12:01 Films.

Published last year via Atria/Emily Bestler Books, the Wilderness Reform novel synopsis provides more insight into what we can expect from the feature:

“13-year-old Ben is sent to an isolated reform program for troubled teens by a juvenile court judge. But when he arrives at the camp, located on the edge of the vast wilderness of northwestern Montana, he immediately recognizes that there is something weird about the counselors. They’re too friendly and upbeat… yet Ben can tell there’s an undercurrent of menace.

“As he gets to know the boys in his cabin, he soon discovers that they each have far more going for them than whatever crime landed them there. And each has a different critical skill, one that could help them unearth what is really going on in this place—and how to make it out alive. They are inching ever closer to the truth, but the hidden evil beneath the camp’s surface will make itself known in order to deter them.”

Prior to Heart Eyes, Ruben helmed 2021’s Werewolves Within and 2020’s Scare Me, also writing and starring in the latter.

The post ‘Heart Eyes’ Director Josh Ruben to Helm ‘Wilderness Reform’ Horror Novel Adaptation appeared first on Bloody Disgusting!.

Josh Ruben (Werewolves Within, Scare Me) directed Heart Eyes, with Mason Gooding (Scream) and Olivia Holt (“Cruel Summer”) starring in the romantic slasher.

Heart Eyes will begin streaming on Netflix on May 8, 2025! It’ll help to whet your appetite for Netflix’s brand new slasher Fear Street: Prom Queen, arriving on May 23.

Slasher comedy Heart Eyes is currently available for rental or purchase on all major VOD/Digital outlets, and the DVD and Blu-ray were just released earlier this month.

Exclusively watch the 10-minute opening for Heart Eyes below, which features three gory kills and introduces the legend and mythology of your new favorite holiday slasher villain!

“For the past several years, the Heart Eyes Killer has wreaked havoc on Valentine’s Day by stalking and murdering romantic couples. This Valentine’s Day, no couple is safe.”

The new horror movie from Screen Gems and Spyglass (Scream, Scream VI, Thanksgiving) features a screenplay written by Phillip Murphy (The Hitman’s Wife’s Bodyguard) and Christopher Landon (Happy Death Day, Freaky) & Michael Kennedy (Freaky).

Meagan Navarro writes in her 4-skull review for Bloody Disgusting, “Heart Eyes walks the fine line between a ’90s slasher with a modern savage edge and a romcom with rare, white-hot chemistry without ever feeling novel or gimmicky. It’s simply a breathlessly entertaining ride that leaves you cheering for love and creative kills in equal measure.”

The post ‘Heart Eyes’ Slashing into Netflix Ahead of ‘Fear Street: Prom Queen’ Next Month appeared first on Bloody Disgusting!.

Holidays can be a wonderful time of unity where friends, family, and loved ones come together, whether they subscribe to the entrenched tropes of these seasonal customs or have created their own. Holiday horror films have become one of the genre’s most cathartic traditions. This subversive brand of horror started to find its footing during the ’70s through movies like Silent Night, Bloody Night, Whoever Slew Auntie Roo?, and of course — Black Christmas and Halloween.

The tongue-in-cheek nature of Christmas horror movies have helped make these the most popular holiday horror sub-genre. There are close to 100 Christmas horror movies, but this hasn’t stopped other holidays, like Thanksgiving, April Fool’s Day, and even Independence Day, from also leaving their mark on the horror genre. 

Valentine’s Day is especially rewarding territory to explore through the horror lens. A time of love, affection — and often jealousy — is subject matter that naturally feeds into horror’s heightened, emotional characters. Josh Ruben’s Heart Eyes — a throwback slasher that revolves around a festive serial killer who targets couples — is a modern classic-in-the-making that reminds audiences why Valentine’s Day is the perfect vehicle for scary slasher shenanigans.

Anyone who wants to program a flawless night of Valentine’s Day-fueled horror should turn to the following films…

My Bloody Valentine & My Bloody Valentine 3D

There may not even be a Valentine’s Day horror sub-genre without 1981’s My Bloody Valentine, a revelatory slasher that is the holiday’s equivalent to Black Christmas. There’s a deliciously Jaws-esque plot that drives My Bloody Valentine forward. A deranged miner who had to resort to cannibalism during a tunnel disaster threatens to wreak violent vengeance on the sleepy town of Valentine Bluffs if they ever hold the annual Valentine’s Day Dance again.

After 20 years, Valentine Bluffs finally decides to return to this tradition, content that Harry Warden (Peter Cowper) is confined to a mental institution and unable to do any harm. Of course, Harry escapes, dons a miner’s mask and pickaxe, and returns to Valentine Bluff to terrorize the community’s lovesick youth. A miner’s mask turns out to be a very effective slasher disguise that’s simple, yet creepy. My Bloody Valentine features an abundance of removed hearts and foreboding POV segments that are rich in atmosphere. It’s also just so silly that the film’s dangers have an easy solution — the canceling of the dance — but such a setback is viewed as an impossible imposition to this party-deprived community.

The original My Bloody Valentine is an evergreen classic, but 2009’s My Bloody Valentine 3D is actually one of the better remakes to come out of the 2000s that taps into exactly the right tone for this heightened horror hysteria. It’s also one of the best uses of 3D in a horror film that effectively recaptures the comical, cringe-inducing experience of flinching from projectile eyeballs and spraying blood. Director Patrick Lussier has been involved with big-budget productions like Drive Angry and Terminator Genisys, but My Bloody Valentine 3D is his masterpiece. It’s unfortunate that the proposed sequel never came to fruition. 

Picnic At Hanging Rock

Many Valentine’s Day horror movies focus on the holiday’s immediacy and a desire for resolution. Peter Wier’s Picnic at Hanging Rock spits in the face of these principles in favor of a terrifying thriller that crafts a suffocating mystery that’s in no hurry to provide answers. It’s a film about humanity’s inherent helplessness and their ultimate insignificance in comparison to the universe’s infinite vastness. The film investigates the disappearance of three young girls who go missing during a Valentine’s Day school trip to Hanging Rock. There’s a cinema verité quality to the picture that evokes the feeling of early found-footage or even the hazy obscurity of something like The Texas Chain Saw Massacre that blurs the lines between fact and fiction.

Picnic at Hanging Rock crafts a compelling story, but it’s really the movie’s visuals and mesmerizing cinematography that elevate it to something greater. This film has such a hypnotic hold over the viewer that makes them feel haunted and at the mercy of some unexplainable supernatural force. It’s like you’re drowning in a nightmare. Picnic at Hanging Rock gets under the audience’s skin and is the type of film that viewers will immediately want to rewatch the minute that the credits begin to roll. It’s one of the darkest and most unnerving Valentine’s Day horror films, but it’s also widely considered to be one of the best Australian movies of all-time.

Valentine

Valentine is the pinnacle of early 2000s era slashers, albeit a title that’s actually held up incredibly well nearly 25 years later. The slick slasher has a cast that’s full of some of the decade’s top teen-skewing talent, such as David Boreanaz, Denise Richards, Marley Shelton and two Grey’s Anatomy alum, Katherine Heigl and Jessica Capshaw. Valentine is very generic on paper — a killer in a Cupid mask begins racking up a body count that connects back to an embarrassing incident from junior high. Directed by Jamie Blanks of Urban Legend fame, the film has fun with a whodunnit element that keeps audiences guessing up until the very end. 

It’s easy to dismiss Valentine as one of the decade’s many Scream rip-offs, but this horror movie actually has something to say and executes it through a surprisingly intricate revenge plan. It’s full of provoking set pieces that fully take advantage of the many tropes and traditions that are connected to Valentine’s Day. All these moments connect, but there’s a particularly disturbing scene that involves chocolates and maggots, not to mention a truly vicious kill with an iron. Valentine punches way above its weight, even if it’s far from a perfect horror movie.

Hospital Massacre

Hospital Massacre, also known as X-Ray (as well as Be My Valentine, Ward 13, and Or Else), is entertaining slasher shlock from the early ’80s that’s slipped through the cracks for many. Hospital Massacre — unsurprisingly — uses the claustrophobic and sterile setting of a hospital and turns it into an inescapable house of horrors. An unpopular boy, Harold Rusk (Charles Lucia), finds himself mocked by Susan Jeremy (Barbi Benton) and her boyfriend on Valentine’s Day, only for Harold to snap from the embarrassment and murder Susan’s partner. Now, 19 years later, Susan is divorced and excited to embrace life with her new boyfriend, Jack (Jon Van Ness). Susan has to pick up her routine physical results from the hospital, where she’s interrupted by her former stalker who murders a surgeon and masquerades as a medical professional. 

A lot of Hospital Massacre involves Harold killing off doctors and hospital staff with precise medical tools. At only 89 minutes, it’s hardly a long movie, but the final act does drag, despite the harrowing situation that Susan finds herself in. Hospital Massacre culminates in an emotional reunion that avoids a cliched conclusion and argues that a final girl doesn’t have to perish in order for a horror film to be successful. This is a niche Valentine’s Day slasher that’s a lot of silly, stupid fun.

Tales From The Crypt (“Poetic Justice”)

Amicus Productions helped lead the charge for anthology horror in film through the ’60s and ’70s. Freddie Francis’ Tales from the Crypt is considerably less campy than the HBO series that followed, but it’s still a very entertaining production that concludes with a cathartic twist. Out of the film’s five segments, it’s frequently the Christmas-centric killer Santa story, “…And All Through the House,” that receives the most praise. However, there’s also an excellent Valentine’s Day segment in the mix. “Poetic Justice” is a title that may seem appropriate for most Tales from the Crypt stories, but this operates as a tight, tense revenge story that hits its mark and doesn’t overstay its welcome. 

“Poetic Justice” involves a petty feud against a neighbor – Arthur Grimsdyke (Peter Cushing) – who may seem odd, but he largely keeps to himself and doesn’t disturb others. Cushing brings something special to this story and Grimsdyke’s complete earnestness really aids this performance and gives his character real pathos. The central “prank” exploits the death of Grimsdyke’s wife, on Valentine’s Day no less, which triggers a melancholy chain reaction. “Poetic Justice” is rather heartbreaking and it’s easy to see why this story wasn’t adapted into an episode of the TV series, which went for broader and more extreme tales of terror. Any misgivings in the segment will be forgotten by the time the pitch-perfect ending arrives. It’s pure E.C. Comics bliss and the weaponization of seemingly sweet Valentine’s Day card limericks helped “Poetic Justice” walk so that Valentine could run. 

Broken Hearts

Jake McDowell (2012’s Found Footage) is a Canadian filmmaker whose first student film — at the age of 17 — was a modern update to John Carpenter’s Halloween, which makes him the perfect choice for a Valentine’s Day-based slasher movie. Broken Hearts is cut from the same cloth as Heart Eyes and Valentine. There’s a lot of crossover between these bloody affairs. A masked psychopath begins offing his unrequited crush’s romantic interests so that no one can get in the way of their love. Broken Hearts celebrates a robust body count, graphic violence, and a retro aesthetic that brings the slashers of the ’70s and ’80s to mind. The killer’s Cupid-esque mask may have a low-budget direct-to-video look to it. However, there’s such passionate love for the genre and filmmaking that’s on the screen. 

Broken Hearts keeps its audience guessing over the serial killer’s identity and playfully indulges in twisted fantasies and disturbing set-pieces that feed into the murderer’s delusions and slipping grasp on reality. Not only does Broken Hearts gleefully wear its slasher love on its sleeve, but it directly name-drops My Bloody Valentine 3D and coyly asks the audience, “Tell me, who would actually pay to see a Valentine’s Day horror movie?” 

Holidays (“Valentine’s Day”)

2016’s Holidays has good intentions and features some particularly satisfying highs, the likes of which make it all the more disappointing that they’re sandwiched between some lackluster lows. Holidays is an eight-segment anthology film that showcases a different holiday in each story, the likes of which are helmed by promising genre filmmakers. “Valentine’s Day” kicks off the film and benefits from Kevin Kölsch and Dennis Widmyer’s (Starry Eyes) direction.

This tale is fairly formulaic Valentine’s horror, but it’s presented with a brutal intensity and rawness that helps it stand out among the anthology film’s other segments. “Valentine’s Day” tackles bullying, revenge, and unrequited love with a bloody climax that’s reminiscent of Tales from the Crypt’s “Poetic Justice.” It’s exactly the sort of slasher-based situation that one might expect to find in a film like Heart Eyes.

Pontypool

Canadian apocalypse thriller, Pontypool, is one of the most creative takes on a zombie-esque virus that spreads through society. It’s easy to miss the fact that Pontypool begins on Valentine’s Day, but the affectionate holiday becomes vital subtext to this alarming story. Many zombie films explore a toxic outbreak that’s spread through human contact or bites to the flesh. Pontypool explores an even more disturbing idea that presents a virus that spreads through human language. In doing so, Pontypool is able to present such a unique and methodical look into society’s breakdown. It’s truly chilling to see this virus spread and society struggle to figure out what’s going on.

There’s a clear progression to this infection as individuals begin to uncontrollably repeat certain words before their vocabulary and comprehension become progressively garbled and regresses into nonsense. There’s a particularly powerful sequence where Grant (Stephen McHattie) convinces Sydney (Lisa Houle) that the word “kill” actually means “kiss,” which is a stunning distillation of what it means to be in love in a horror movie. Pontypool’s finale is a beautiful expression of love that’s shrouded in hopelessness.

Pontypool doesn’t push the fact that it begins on Valentine’s Day in the audience’s face. However, the movie’s message about the importance of communication, the power of language, and how the loss of these things leads to total disaster becomes even stronger when it’s contextualized through romance and relationships. Love and affection increasingly evaporate — and madness reigns — when language is lost, whether it occurs in a zombie apocalypse or a mundane break-up.

The post Beyond ‘Heart Eyes’ – The Perfect Valentine’s Day Horror Movies to Watch This Year appeared first on Bloody Disgusting!.

Ruben, working from a script by Phillip Murphy (The Hitman’s Wife’s Bodyguard) and Christopher Landon (Happy Death Day, Freaky) & Michael Kennedy (Freaky), sets the charming, funny, and suspenseful tone straightaway with a cold open that introduces the Heart Eyes Killer and his rather gnarly modus operandi of savagely slaughtering lovers in punny, elaborately gory form. This killer, sporting a memorable mask destined for merchandising, targets couples every Valentine’s Day from across the country.

That Ally (Holt) is single should mark her safe, but a bitter breakup has put her career on the line and prompted her boss to pair her with suave fixer Jay (Gooding) to salvage a botched campaign. A business dinner on Valentine’s Day puts the pair directly in the Heart Eyes Killer’s crosshairs, and sparks fly as Ally and Jay fight to survive the night.

It’s not the steadfast commitment to intense thrills and suspenseful set pieces that earns easy rooting interest in Heart Eyes, though that certainly helps, but rather its magnetic cast. Gooding and Holt impress for their natural chemistry and playful banter, but Holt’s Ally, in particular, has an extremely tough needle to thread as the awkward romcom heroine who’s prone to clumsiness yet proves herself capable of thinking on her feet when the horror comes in earnest. Gooding establishes himself as a generous and charismatic scene partner, supporting Holt’s rise from timid love interest to clever final girl. Gigi Zumbado also shines as Ally’s fiery best friend, with horror stalwarts Devon Sawa and Jordana Brewster complicating matters as Hobbs and Shaw (because, of course), the detectives tracking the serial killer.

Heart Eyes moves at a rapid clip, building steady momentum as Ally and Jay are forced to flee all over the city. It yields no shortage of exciting set pieces that often end in inspired bloodshed, culminating in a thrilling climax that lets its cast cut loose in a go-for-broke showdown. Ruben doles out enough foreshadowing that makes it seem easy to surmise the killer’s identity, but luckily, Heart Eyes isn’t so straightforward in this department and retains a few tricks up its sleeves to keep the savvy slasher fan on their toes.

While Heart Eyes will likely earn easy comparisons to similar themed slashers like My Bloody Valentine, Ruben instead draws from Friday the 13th Part VI: Jason Lives both in the killer’s physicality and in the perfect blend of fun and horror. Heart Eyes, simply put, is a blast. There’s no winking attempt to reinvent the subgenre- either of them- or go meta. Instead, Ruben pairs this genre hybrid down to the basics and ensures each component stands on its own. As a romcom, Heart Eyes is sexy and endlessly charming. As a slasher, the typically comedic Ruben finally gets to cut loose and demonstrate his chops for crafting intense slasher scares and suspense. The director also refreshingly keeps any callbacks or easter eggs relegated solely to romcoms, acting as a tongue-in-cheek primer for the horror fan.

Heart Eyes walks the fine line between a ’90s slasher with a modern savage edge and a romcom with rare, white-hot chemistry without ever feeling novel or gimmicky. It’s simply a breathlessly entertaining ride that leaves you cheering for love and creative kills in equal measure. Heart Eyes doesn’t shake up the slasher or romcom formulas but seamlessly marries the two and puts its characters first. It’s arguably the best mashup of two seemingly disparate genres yet, and this charming, violent, and romantic slasher feels all but destined for sequel status. 

Heart Eyes releases in theaters on February 7, 2025.

Editor’s Note: This review was originally published on January 31, 2025.

The post ‘Heart Eyes’ Review – A Crowd-Pleasing Blend of Savage Slasher and Romantic Comedy appeared first on Bloody Disgusting!.

Olivia Holt and Mason Gooding star as co-workers mistaken for a couple, putting them directly in the crosshairs of a vicious killer on Valentine’s Day. The slasher, out in theaters this Friday, wears its romantic comedy influences on its sleeves, but one key slasher guided Ruben on his first slasher film.

“My gold standard, my north star, was Tommy McLoughlin’s Jason Lives,” Ruben tells Bloody Disgusting of the film’s influences. “That film is as brutal as it is silly as it is fun, and that was the white whale. Then everything after that was searching within myself, the kid that loved rom-coms, like Sleepless in Seattle, which is as funny and sweet as it is heartbreaking, super well acted but also silly, etc. Also, movies like Defending Your Life and Big and so on and so forth.”

Striking the right tone between romantic comedy and horror isn’t the easiest needle to thread, but Ruben’s trick to finding that perfect balance starts with his cast. The director didn’t want knowing winks in any of his actors’ performances.

Ruben says, “You always start with actors who ideally have chemistry, and it blooms from there. The icing on the cake is the funny boss (Michaela Watkins) or Gigi Zumbado as Olivia’s friend in the film, doing their thing, being as big as they would be in this film if it were just a rom-com. But then you just make sure that the actors play terror for real, and they don’t get caught trying to be funny. That is my MO for everything that I make because if your actors are playing it with a wink, you’re dead. You can’t do what I want to do tonally.”

The filmmaker also looked to a pair of horror masters for tone. “I look at Joe Dante’s work as, even some of John Carpenter’s stuff, but I think Joe Dante specifically is someone who can get away with. Look at Phoebe Cates’ monologue in Gremlins, but also, Mom just smashed the shit out of a gremlin with a pot, a pan, and a knife. It all works because everybody is so genuine, it’s so heartfelt, and then the icing on the cake is the filmmaking stuff. That was how it all came together. And then, of course, with music, sound design, composer Jay Wadley, it was the same thing. Let’s not get caught trying to be funny. Let’s just do an Alan Silvestri suite that you’d hear in Father of the Bride and then have it ratchet to Christopher Young.”

Finding the tone is one thing, but a slasher lives and dies by its killer. Once the killer’s look and mask design were in place, the next step was ensuring the Heart Eyes killer had a personality to match.

“I wanted to see what our stunt performer, Alex McColl, he’s phenomenal, brought to it without instructing Alex to do anything specifically,” Ruben explains. “I did tell him he had to watch Jason Lives. I wanted to start there and say, ‘Alex, just watch Jason Lives, and let me just see what you do.’ Then I would tweak it. I wanted to get the head cock because they always do the head cock, you know, and that just feels super iconic to me. I always pictured Nick Castle, or really any moment in H20 where you get to see Michael do his famous move. But the most original you can make it is allowing an individual to come in and put their stamp on it. Then I shape that if I need to.

“The only thing I would instruct Alex to do was sharpen certain movements or keep sensuality in mind because Heart Eyes is kind of an erotic character, in a way. We talked a little bit about Pinhead, etc. But I needed them to bring their own originality to it, and then, from then on, anything that bumped me as the director, ‘No, that’s too much, or it’s too little, or it’s not enough.’ There’s very little you have to do in a mask like that to be effective.”

Of course, getting to helm a slasher let Ruben, a massive horror fan, tackle a slasher must: the kills. He admits, “I wish I could have added a few more. I really wanted to homage to the pickaxe going through the face and eyeball from My Bloody Valentine because it’s so brilliant. But I don’t know if it would have done much for me or for the audience. We’ve seen that before. What else can you do? I try to, as a genre fan, lean into specifics because those are what make the memorable kills.”

Ruben put a lot of thought into the kills, making sure they were fresh and original. “There’s the very first kill of the movie; I absolutely love it because it’s so specific. I’m a huge horror fan, and I love interesting, fun kills,” he explains. “Specifics are your best friend. That was everything I wanted to bring to it. The quote, unquote, ‘famous van kill’ was just a meditation I had. I thought, ‘No one did the Michael Bay Texas Chainsaw thing for a while, maybe we should just homage that. But without it being a gunshot, maybe there’s a tire iron angle to it.’ They were very much in the script. But any great action sequence written out in a screenplay the director is given, it wasn’t micromanaged or super spelled out. It had a lot of freedom to kind of meditate on, ‘What else can I do? How specific can we get about where the puncture is and how I shoot it?’ That’s so fun and invaluable because we’ve seen everything. You’ve seen everything. So it’s like, ‘What else can we do?'”

Heart Eyes takes place over one intense evening, and luckily, you can see in the dark. This is a night slasher with stunning clarity. That was part of Ruben’s intent. “I wanted blue moonlight from the beginning. I’m a huge blue moonlight fan. I love my Joe Dante. I love Jaws, I love Get Out. And I also love anything Steven Spielberg that used to freak me out. I wanted to bring blue moonlight into the fray because rom-coms of yesteryear also had blue moonlight that usually came in through raked blinds.

“You look at Jason Lives, and there’s the same lighting/gaffing effect, shaping the room so blue moonlight was where we started. Then you bring in the colors of a Valentine’s Day movie to make it feel like you’re watching a rom-com that then gets, you know, Wes Craven.”

Heart Eyes releases in theaters on February 7, 2025.

The post ‘Friday the 13th: Jason Lives’ Was ‘Heart Eyes’ Director Josh Ruben’s North Star on Slasher Rom-Com appeared first on Bloody Disgusting!.

Screenwriters Phillip Murphy (The Hitman’s Wife’s Bodyguard) and Christopher Landon (Happy Death Day, Freaky) & Michael Kennedy (Freaky) seamlessly marry the slasher and rom-com genres together for one entertaining, gory romp centered around an emoji mask-inspired killer who stalks and hunts couples on the most romantic holiday of the year.

It may come as no surprise that Heart Eyes originated from a date gone wrong. Great chemistry in a Zoom chat didn’t translate in person, but it did leave Phillip Murphy with killer inspiration. “I was on my moped, driving home from that date just livid, furious,“ Murphy tells Bloody Disgusting. “I was like, ‘I know there’s something there.‘ I was thinking of a killer coming after us. That was pretty seamless. Then, the rom-com started to evolve when I started working with Chris, who was an early shepherd of it and was great.

“But for me, the slasher, that was really already in place, and then Chris and Michael just built it up even more. But my draft really did come together really quickly and organically because I was so pissed off at that date. I was so angry. It’s almost like this idea was in there just waiting to come out.”

Murphy landed on the slasher-meets-rom-com concept early on, and the next step, of course, was landing on the perfect villain. What’s a slasher without a memorable masked killer, after all? While the film’s killer and title draw from a popular emoji, Murphy reveals that he began with a drastically different idea in mind for the Heart Eyes Killer’s mask.

“It was supposed to be Chuck Woolery but rest in peace, he recently passed away,“ Murphy says. “But it was a Chuck Woolery mask, and I thought I could probably do better than that. Nobody really knows who he is, outside of ’80s kids.” That’s when inspiration struck again. “When I just was looking at the emoji and thinking about how that would look, I’m like, ‘That’s got to be it, that just has to be it.‘ Then it evolved with these two guys.”

Landon and Kennedy looked to the killer’s motives to further evolve Murphy’s concept for a heart eyes emoji-inspired killer. Landon explains, “Michael and I came on, and one of the things that we knew based on some of the changes that we were making to the script is that we wanted this to feel like it was a sexualized get-up that was very kink-specific and kind of S&M-y. That this was more than just a person stomping around, killing couples. It was someone who deeply loved what they do, how they do it, and the style with which they approach it. That was something that we were really into. Then Josh [Ruben] came into the process and then leveled it up even more.”

Landon adds, “It was Josh’s idea to have these eyes that light up and, actually, our night vision goggles as well. So there’s functionality to it, as well as the bespoke weapons with parts in them. That was a Josh thing, and that was what made us really fall in love with his angle.”

More than the killer’s design, Landon and Kennedy also ensured this slasher came loaded with inventive kills. “I always credit Chris; he’s come up with the elaborate ones on this,“ Kennedy says of Heart Eyes’ more elaborate deaths. “I’m the stabby-stab writer, and Chris is like, ‘No, no, no, we should cut him in half with a table saw.‘ Oh, okay.”

“I walk into a lot of rooms and just imagine how people would die or how I would kill them,“ Landon amusingly says of his talent for penning on-screen horror kills. “So, it’s always very much germane to the setting. I knew I wanted to open the movie at a winery. I knew that just felt like this is where you would propose. I actually live near Wine Country up in Santa Barbara, and so I thought, ‘Oh gosh, two really bougie, douchey people having this romantic moment in a winery.‘” We won’t spoil what, exactly, this opening kill entails, but let’s just say that it’s gloriously gory and original.

“My poor husband probably sleeps with one eye open because I really do love thinking of ways to kill people,“ Landon cracks.

While the trio nailed the mechanics of a slasher/rom-com hybrid, all three screenwriters are unanimous in that characters are the most important part of any script. Especially in horror. “I think any great slasher movie starts with characters first,“ Kennedy says. That’s reflected in the complexity of Olivia Holt‘s final girl, Ally.

While Kennedy took care to ensure a complex heroine, he’s quick to credit Holt for what she brought to the role. “The thing about Olivia is everything about her just brought so much to the character that you can’t even put on screen or on paper. She just has this thing about her. The other thing that was really important too, was also making her smart. She does so many really smart things in the movie, and she fights back. The belt situation? The belt on the door, that is so smart.”

Having horror stalwarts like Landon and Kennedy on board also helped with keeping seasoned horror fans on their toes, especially when it comes to the whodunnit aspect of this slasher.

“A huge part of it was the subversion and also knowing that we get to build to a certain kind of climax, pun intended, that is different than what we’ve traditionally seen in these kinds of movies and specifically a Valentine’s slasher,“ Landon explains. “It’s character-driven, but it’s also very much driven by, I think, a group of people who are all very familiar with the genre. We know all the tropes, and so that’s the other joy in writing these kinds of things. It’s like, ‘Oh, here’s where you’re expecting us to go, and then here’s our hairpin turn the other way to keep it interesting.‘”

Kennedy adds, ‘The Valentine’s Day movies before us really helped us set the table and then flip it over, you know what I mean? Even going back to Scream, the boyfriend being the killer is already in people’s heads just because there’s a boyfriend in the movie. So, we really got to take advantage of what people think is going to happen in a lot of fun ways.”

Heart Eyes releases in theaters on February 7, 2025.

The post ‘Heart Eyes’ Screenwriters Talk Creative Slasher Kills and Reveal the Killer’s Original Mask Design appeared first on Bloody Disgusting!.

Jean-Paul Sartre is known for the brutally honest aphorism “hell is other people.” While the French philosopher was likely referring to social interaction and fears of forced extroversion, he could just as easily have been thinking of life in a small town. These tiny burgs offer the illusion of isolation—along with picturesque scenery—but more often than not they become breeding grounds for all types of strange behavior. Josh Ruben explores the humor and horror of this close camaraderie with his 2021 film Werewolves Within.

Based on a video game, the small town of Beaverton is turned upside down when a werewolf moves in and begins stealthily using her neighbors’ petty grievances to lay the groundwork for her next meal.

New park ranger Finn Wheeler (Sam Richardson) has just arrived in town when a vicious predator begins hunting the residents. Thankfully mail person Cecily (Milana Vayntrub) offers to show him around and introduces a kooky cast of friends and foes. As the mysterious beast continues to kill, a winter storm blows through, knocking out the power and leaving everyone stranded inside the local inn. With a suspected werewolf on the loose, neighbor turns against neighbor and the town erupts in a hellish night of shocking violence. 

In the latest episode of Bloody FM’s The Lady Killers Podcast, co-hosts Jenn Adams, Sammie Kuykendall, Rocco Thompson, and Mae Shults investigate the murderous creature lurking in the heart of this quaint village. How does Ruben use a non-traditional hero to explore the concept of masculinity? How does Cecily deconstruct the modern Cool Girl? How dangerous are women like Trish (Michaela Watkins) and has anyone actually read Walden?

They’ll answer these questions and more while sussing out the werewolf lurking within this group of quirky misfits. 

Stream below and subscribe now via Apple Podcasts and Spotify for future episodes that drop every Thursday.

Instagram | Twitter 

The post Hell Is a Small Town in Josh Ruben’s ‘Werewolves Within’ [The Lady Killers Podcast] appeared first on Bloody Disgusting!.

Watch the bloody Heart Eyes trailer down below, which previews a handful of supremely gory kills from the upcoming movie. Oh yes, it’s going to be a Bloody Valentine this year…

We have the recent box office success of the Scream and Halloween franchises, coupled with Eli Roth’s Thanksgiving back in 2023, to thank for the return of the holiday slasher movie, which was of course a staple of the genre back in the 1980s. And don’t forget that Bloody Disgusting and Cineverse are rebooting Silent Night, Deadly Night later this year!

Josh Ruben (Werewolves Within, Scare Me) directed the Valentine’s Day-themed Heart Eyes, with Mason Gooding (Scream) and Olivia Holt (“Cruel Summer”) starring.

Gory slasher Heart Eyes has been rated “R”  for “strong violence and gore, language and some sexual content.” Here’s the official plot synopsis provided by Spyglass…

“For the past several years, the Heart Eyes Killer has wreaked havoc on Valentine’s Day by stalking and murdering romantic couples. This Valentine’s Day, no couple is safe.”

Gigi Zumbado (The Real Bros of Simi Valley) and Michaela Watkins (“Dinner with the Parents”) will also star in the upcoming Heart Eyes, alongside Devon Sawa (Final Destination, “Chucky”) and Jordana Brewster (The Texas Chainsaw Massacre: The Beginning).

The new horror movie from Screen Gems and Spyglass (Scream, Scream VI, Thanksgiving) features a screenplay written by Phillip Murphy (The Hitman’s Wife’s Bodyguard) and Christopher Landon (Happy Death Day, Freaky) & Michael Kennedy (Freaky).

Christopher Landon and Divide/Conquer’s Greg Gilreath and Adam Hendricks (M3gan, Totally Killer) are producing. Spyglass Media Group’s Gary Barber and Chris Stone will serve as Executive Producers with Mel Turner, Philip Murphy, and Michael Kennedy.

The post New Trailer for ‘Heart Eyes’ Promises a Very Bloody Valentine in Theaters This February appeared first on Bloody Disgusting!.

Josh Ruben (Werewolves Within, Scare Me) is directing the Valentine’s Day-themed horror movie, with Mason Gooding (Scream) and Olivia Holt (“Cruel Summer”) also starring.

The upcoming slasher movie from Spyglass (Scream, Scream VI, Thanksgiving) features a screenplay written by Phillip Murphy (The Hitman’s Wife’s Bodyguard), Christopher Landon (Happy Death Day, Freaky), and Michael Kennedy (Freaky).

In Heart Eyes, “when the Heart Eyes Killer strikes Seattle, a pair of co-workers pulling overtime on Valentine’s Day are mistaken for a couple by the elusive couple-hunting killer. Now they must spend the most romantic night of the year running for their lives.”

Josh Ruben said in a statement shared by Deadline, “My love of horror is rivaled only by my love of romantic comedies. I’m excited as hell to mount my most challenging genre bender to date: a brutal slasher in a nostalgic rom-com universe.”

Christopher Landon and Divide/Conquer’s Greg Gilreath and Adam Hendricks (M3gan, Totally Killer) are producing. Spyglass’ Gary Barber and Chris Stone will serve as EPs with Murphy.

The post Devon Sawa & Jordana Brewster Join Valentine’s Day Slasher ‘Heart Eyes’ appeared first on Bloody Disgusting!.

Josh Ruben (Werewolves Within, Scare Me) will be directing the Valentine’s Day-themed horror movie, with Mason Gooding (Scream) and Olivia Holt (“Cruel Summer”) starring.

The upcoming slasher movie from Spyglass (Scream, Scream VI, Thanksgiving) features a screenplay written by Phillip Murphy (The Hitman’s Wife’s Bodyguard), Christopher Landon (Happy Death Day, Freaky), and Michael Kennedy (Freaky).

In Heart Eyes, “when the Heart Eyes Killer strikes Seattle, a pair of co-workers pulling overtime on Valentine’s Day are mistaken for a couple by the elusive couple-hunting killer. Now they must spend the most romantic night of the year running for their lives.”

Josh Ruben said in a statement shared by Deadline today, “My love of horror is rivaled only by my love of romantic comedies. I’m excited as hell to mount my most challenging genre bender to date: a brutal slasher in a nostalgic rom-com universe.”

Christopher Landon and Divide/Conquer’s Greg Gilreath and Adam Hendricks (M3gan, Totally Killer) are producing. Spyglass’ Gary Barber and Chris Stone will serve as EPs with Murphy.

No word yet on whether or not Mason Gooding will be returning for Spyglass’ upcoming Scream VII, but we’ll be sure to report more on that project as we learn it. Stay tuned.

The post ‘Heart Eyes’ – Mason Gooding Starring in Valentine’s Day Slasher Movie appeared first on Bloody Disgusting!.

Here’s everything you need to know…

July 7 starts the month in sun and fun with the “Permanent Vacation” Collection (UK/IRE/US/CA). In desperate need of a vacay? Well, be careful who you book with, because the flicks trips in Permanent Vacation are dream holidays that you’ll never return from.

Featuring murderous mini-breaks and sun, sea, sand and psychos, these gory getaways feature everything from island paradises full of monsters and mutants to nature breaks from the rat race that will be the death of you. So, pack your sunglasses and flip-flops, but don’t bother buying a return ticket, because you’re going on a Permanent Vacation.

Titles Include: Horrors of Malformed Men, Lake Michigan Monster, The Wind.

Also on July 7, subscribers are invited to dig up “Yakuza Graveyard” (1976, UK/IRE/US/CA).

When he falls for the beautiful wife of the jailed boss of the Nishida gang, things start to spiral out of control for detective Kuroiwa (Tetsuya Watari, Graveyard of Honour). In a world where the line between police and organised crime is vague, he finds himself on the wrong side of a yakuza war when his superiors favour Nishida’s rivals, the Yamashiro gang. Co-starring the iconic Meiko Kaji (Lady Snowblood) and featuring Nagisa Oshima as chief of police, Yakuza Graveyard sees director Kinji Fukasaku (Battles without Honour and Humanity) at the peak of his powers.

On July 14, take a trip through the ages with “You’re History” (UK/IRE/US/CA).

Hop aboard the ARROW Time Machine for a selection of trips to all the time periods you could possibly imagine in You’re History. This curated collection features historical epics, time capsule slices of life and period pieces all featuring blood, swords, romance, political intrigue, unforgettable events, crazed killers and flying fighters. The past has never been as entertaining, or dangerous, as it is in You’re History.

Titles Include: Eros + Massacre, Vengeance is Mine, Khrustalyov My Car!

Also on July 14, Bruce Campbell is Running Time (US/CA).

Campbell (The Evil Dead series, TV’s “Burn Notice”) stars as Carl, a man who launches a full-scale heist to steal mob money from the prison that just released him. With the help of an old friend (Jeremy Roberts, The People Under the Stairs), a driver and a safe-cracker, Carl’s attempt to carry out the heist is fraught with incompetence and bad luck. As the clock ticks and the circumstances turn tragic, Carl is forced to make the most important decision of his life.

On July 21, explore the cinema that inspires multi-hyphenate Josh Ruben (actor-writer-director, Scare Me, Werewolves Within, Death to 2021, A Wounded Fawn) with “Josh Ruben Selects” (UK/IRE/US/CA).

“First, ARROW asked if I’d list my favorite movies currently streaming on their epic service… then came a flood of shame… cult films? Have I seen any!? Am I a BAD CINEPHILE?! And yet, there they emerged, one after another in alphabetical order, from Basket Case onward came title after title, some of which I haven’t thought about since I was a wee one. Enjoy a taste of the delightfully dark and salacious gems, many of which moulded me at too young an age.”

Titles Include: Elvira: Mistress of the Dark, Bad Moon, The Guyver.

July 24 brings the spaghetti westerns to subscribers with “Blood Money Collection” (UK/IRE/US/CA).

In the mid-1960s, the runaway success of Sergio Leone’s Dollars trilogy gave rise to an explosion of similar productions. Filmmakers by the dozen sought to capitalize on this new, uniquely Italian take on the western, which was characterized by their deeply cynical outlook, morally compromised antiheroes and unflinching depictions of savage violence. This specially curated selection gathers together four outstanding examples of the genre from the height of its popularity, all centered around the theme of blood money.

In Romolo Guerrieri’s $10,000 Blood Money (1967; a.k.a. $10,000 for a Massacre), Gianni Garko, best known for his portrayal of supernatural gunslinger Sartana, takes on the part of another beloved western antihero, Django, who is on the trail of bandit Manuel Vasquez (Claudio Camaso, A Bay of Blood). But what started as a job for hire soon turns personal, with Django swearing vengeance against the unscrupulous outlaw. Then, in the film’s spiritual successor, Giovanni Fago’s Vengeance is Mine (1967; a.k.a. $100,000 for a Killing), Garko and Camaso once again lead the cast, this time as estranged half-brothers, one a Confederate soldier now riding with renegade outlaws, the other a bounty hunter tasked with bringing him in alive.

Next, in Giuliano Carnimeo’s Find a Place to Die (1968), Jeffrey Hunter (The Searchers) plays Joe Collins, a disgraced former soldier who assembles a ragtag band of scoundrels. They are lured into helping a woman (Pascale Petit, A Queen for Caesar) to rescue her prospector husband, who is trapped at their gold mine cave-in, though in reality, they have designs on the gold strike themselves. Finally, in Cesare Canevari’s psychedelic Matalo! (Kill Him) (1970), double- and triple-crosses abound as a band of outlaws, having holed up in an isolated ghost town, set about terrorizing travelers Ray (Lou Castel, Orgasmo) and Bridget (Ana María Mendoza, 7 Women for the MacGregors) – only to get more than they bargained for when Ray fights back, armed only with his weapon of choice: a bag full of boomerangs.

Featuring a wealth of key Euro-cult talent both behind and in front of the camera, Arrow Films is proud to present these four classic westerns in sparkling High Definition restorations, alongside a plethora of brand-new bonus materials.

Titles Include: Find a Place to Die, $10,000 Blood Money, Matalo! Kill Him.

July 28 brings the Seasons to a close with “Sam Ashurst Selects” (UK/IRE/US/CA).

Sam Ashurst is the director of Frankenstein’s Creature, the writer/director of A Little More Flesh and A Little More Flesh II, and the co-host of the Arrow Video podcast.

“Being asked to curate a selection of films for Arrow’s streaming service is like getting to break into your favourite video store after hours to pull from the best shelves. Limited to twenty* rentals, this would be the stack coming home with me. So, brace yourself for crazy kung-fu, stoic heroes, lots of female rage, and some of the coolest movies ever made.”

Titles Include: Boxer’s Omen, Day of Anger, Burst City.

Head over to ARROW to start watching now. Subscriptions are available for $6.99 monthly or $69.99 yearly.

The post ARROW’s July 2023 Lineup Includes the “Permanent Vacation” Collection Plus “Josh Ruben Selects” appeared first on Bloody Disgusting!.

Nocturnal Kid plans to adapt the film into an animated feature.

Complete with easter eggs and a hidden puzzle, the book contains positive messages for children about friendship and acceptance. Available from major retailers and Amazon, Maury has become a beloved member of families all over the country.

“Maury the Miserable Vampire lived in a cold, dark castle and he liked it that way. He never laughed, he never smiled, and he never went outside. When his only friend, Barry the Bat, suddenly disappears, Maury must summon the courage to set out into the world for the very first time in order to find him. Along the way, Maury meets friendly, funny monsters from across the globe and learns about other cultures, teamwork and, most importantly, the value of friendship.”

“I’m a big fan of Josh’s work and know that he has the exact mindset needed to not only handle a story involving classic monsters and comedy but the emotional elements of the story as well,” said Roland. “He completely gets it. I’m beyond ecstatic to be working on the script with him and the prospect of being able to share an expanded view of Maury’s world with his fans. You may just find out why Maury is so miserable.”

“‘Maury’ is a kid’s story about friendship and respect, and the protagonist is kind of a jerk who takes his only friend for granted. This story has a terrific emotional core, which is that, even at our worst, all we want is to be loved and accepted. Telling this story through animated gateway horror with werewolves, bats, and all things that go bump in the night has me thrilled to be producing Jeff Roland’s genre tale under my new banner,” said Ruben.

The post ‘Maury the Miserable Vampire’ – Josh Ruben Writing Animated Monster Comedy appeared first on Bloody Disgusting!.

The upcoming genre movie “takes place in a real American town where wifi, cell service and all other radio transmissions are heavily forbidden.”

“The film follows infant sleep-trainer Sloan (Brown), who realizes that the parents of the child she’s caring for are much more than the clueless yuppies they seem to be.”

Aaron Horwitz (The Cleansing Hour) wrote the script.

Josh Ruben said in a statement, “In a marketplace where original, horror-thrillers slay at the box office, we need no further proof that audiences want to have fun at the movies again. That’s the magic word. Fun. Horror is the bulletproof genre, and ‘Green Bank’ has the full package — it’s smart, scary and wickedly funny.”

“Protagonist Pictures is launching international sales on the film, which will be shopped to buyers at this month’s European Film Market at the Berlin Film Festival,” Variety notes.

The post ‘Green Bank’ – Jasmin Savoy Brown and Tatiana Maslany Starring in Josh Ruben’s Next Horror Movie appeared first on Bloody Disgusting!.

Watch the mind-bending official trailer for A Wounded Fawn below.

The feature film premiered earlier this year at the Tribeca Film Festival to great acclaim, then went on to screen at FrightFest London and Fantastic Fest. 

Inspired by surrealist art and Greek mythology, A Wounded Fawn follows the story of Meredith Tanning (Sarah Lind, Jakob’s Wife), a local museum curator who is dipping her toe back into the dating pool, only to be targeted by a charming serial killer (Josh Ruben, Scare Me, Werewolves Within). When a fateful romantic getaway between the two becomes a tense game of cat and mouse, both must confront the madness within him.

A Wounded Fawn marks the third feature directed by Stevens, who has long been celebrated for his work as an indie producer with credits that include award-winning films such as Adam Wingard’s A Horrible Way To Die, Frank Pavich’s Jodorowsky’s Dune, E.L. Katz’s Cheap Thrills, Ted Geoghegan’s We Are Still Here and Sarah Adina Smith’s Buster’s Mal Heart. 

Co-written by Travis Stevens and Nathan Faudree, the Shudder Original film also stars Malin Barr (The Beta Test, Honeydew) and is produced by Stevens, Joe Barbagallo, via his Barbhouse shingle, and Laurence Gendron, via Genco Pictures. Ksusha Genenfeld served as cinematographer, with the film’s score credited to composer and sound designer Vaaal.

The post ‘A Wounded Fawn’ Trailer – Shudder Original Inspired by Surrealist Art and Greek Mythology appeared first on Bloody Disgusting!.

For those who haven’t yet seen the film, or merely need a refresher, a brief synopsis of Darkman: scientist Dr. Peyton Westlake (Liam Neeson) is close to perfecting his greatest achievement – a synthetic skin to be used for grafts to treat severe burn victims. Unfortunately, the skin only lasts for 99 minutes in the light before disintegrating. Just as he’s on the verge of solving this problem, an incriminating legal document unwittingly discovered by his attorney girlfriend Julie Hastings (Frances McDormand) leads mobster Durant (Larry Drake) and his thugs to Westlake’s door. The thugs brutalize Westlake and kill his research partner before blowing their lab to hell, setting Westlake ablaze and launching him out into the river. Presumed dead by the world at large, Westlake is found and admitted to a hospital as a John Doe, where a radical treatment is performed to deaden his nerves to prevent the excruciating pain brought on by his horrific burns.

Westlake awakens and escapes, then immediately sets about building a makeshift lab in an abandoned building to continue his synthetic skin research in the hopes of restoring his badly burned face and body. Along the way, he uses artificial flesh masks to impersonate his attackers and turn them against one another (when he isn’t simply murdering them in deliciously vicious ways), keeping to the dark for as long as possible each time out to preserve the fake skin he wears. Several marvelously orchestrated, comedic and comic book-inspired action setpieces ensue (with Westlake’s inability to feel pain proving to be both an asset and a curse), all culminating with our hero coming to the rescue to save Julie once she discovers that the man responsible for the attack on Westlake wasn’t Durant, but crooked real estate developer Louis Strack (Colin Friels). Westlake, coming to terms with his newfound bloodlust, murders Strack and leaves Julie behind, setting off into the crowded city with a new mask in place.

Sounds pretty great, right? And it damn well is. Raimi is in top form at the helm of this production, the performances are all sterling (with each actor knowing just how much to wink at the camera without devolving into full-blown camp), and the story is an exciting genre blender that should have gifted both horror nerds and superhero fanboys with an enduring icon. Sadly, the character was likely a bit ahead of his time, as Tim Burton’s groundbreaking Batman had only just come out a year prior, while other dark superhero yarns like The Crow and Blade were still years away from being greeted by more welcoming audiences. The film received two direct-to-video sequels, a failed television pilot, a novelization and spinoff book series, and a line of Marvel comics (to say nothing of an eventual funnybook crossover with Raimi’s most noteworthy creation, Ash Williams, in the 2006 miniseries Darkman vs. Army of Darkness). Hell, there was even an action figure released in the early aughts, but the character was never quite able to capture much in the way of mainstream interest.

This brings us to Ruben. His previous effort (and feature directorial debut), 2020’s Scare Me, found the filmmaker flexing some impressive horror-comedy chops, dealing with relatively lighthearted material that grows ever darker throughout its runtime, with it all leading to a final act that features an intense standoff and shocking death before the tale is topped off with a clever and grimly humorous closing moment. The film, starring Ruben himself alongside The Boys scene-stealer Aya Cash, debuted as a Shudder premiere to strong reviews, perfectly teeing up Ruben’s sophomore effort – 2021’s Werewolves Within.

Adapted from the video game of the same name by Mishna Wolff (writer of the popular memoir I’m Down), Werewolves Within tells the story of Finn (Veep’s Sam Richardson), a forest ranger newly installed in the sleepy small town of Beaverfield, Vermont. Populated by alternately sweet and strange residents, Beaverfield is a town in conflict, with its people at loggerheads over an impending gas pipeline project. With a massive snowstorm on its way, Finn huddles up with the divided townies at the local inn, with postal carrier Cecily (Milana Vayntrub) acting as Finn’s guide to all the odd folks and various goings-on he’s now found himself immersed in.

Billed as “A Whodunnit With Teeth”, the film kicks into gear when a mauled corpse turns up, leading to an investigation which sees the possibility of a werewolf brought up and widely dismissed before someone or something begins picking off our cast one by one, with the survivors realizing that the killer may very well be one of them. This who’s-doing-it? all leads to an inevitable confrontation between Finn and a diabolical murderer who is unveiled in a surprising reveal in the film’s final act.

It’s a tad reductive to paint the film as “Agatha Christie meets American Werewolf”, even for a basic setup that’s pretty much exactly that (one that isn’t terribly dissimilar from the classic 1972 Amicus film The Beast Must Die), because Wolff and Ruben have crafted a film which proves to be a fun, funny, frightening, and genuinely crowd-pleasing horror comedy which nevertheless has some incisive things to say about the ties that bind a community, and all the many unfortunate human frailties which serve to destroy those very bonds. In addition, the film boasts an entertaining mix of tense moments and sterling comic timing, aided in no small part by Richardson and Vayntrub, each putting in what should prove to be star-making turns here. Take it from this writer when he says that Werewolves Within is one of 2021’s best genre offerings, and is well worth seeking out if you’re a fan of smart horror comedies.

But for all of the film’s many merits, does it alone justify the possibility of Ruben taking the Darkman reins from Raimi? As a longtime fan of the character and his scant few adventures across various media, this writer would like to say – absolutely. Even more so than Scare Me, Werewolves Within proves that Ruben has a deft hand at juggling disparate tones, an ability sorely needed if one were to assume Raimi’s place in crafting an effective, cohesive horror/comedy/superhero film.

Moreover, Werewolves Within displays Ruben’s knack for juggling a cast of outlandish characters, showcasing his attention to character work and performance amidst the film’s crazier genre trappings. He seems to revel in their comic weirdness while never sacrificing the reality of the story being told or the weight of the situations the characters find themselves in. Again, a skill necessary to navigate Raimi’s world of equally cartoonish and terrifying villains and henchmen.

But beyond all of that, and perhaps most important to making the case for Ruben to tackle Darkman, is the climactic scene in Werewolves Within and how it relates to Darkman’s own finale. In each, there is a battle between humanity and inhumanity, between innate goodness and dark impulses. While Werewolves outlines this struggle between two figures – kindhearted hero Finn and predatory villain [SPOILERS!], Darkman features the very same conflict embodied within the solitary figure of Peyton Westlake, as he fights to save the woman he loves and best his archenemy Strack, all while hanging onto the last vestiges of the decent man he’d once been.

A lesser storyteller might be obliged to gloss over Wolff’s strong writing in Werewolves’ climactic sequence in favor of racing along to the big fight which ensues, but Ruben was smart enough to allow his film to meditate on the ideological battle between his foes before indulging in all the fun to follow. It’s this final choice on display in the film which underlines why Ruben is perfectly suited to bring Darkman back to the screen. Not only does he understand how to balance humor and horror, action and drama, but he also understands how to handle the very soul of such a story. For that reason and the ones listed above, he’s got this Darkman nerd’s vote of confidence.

Will a filmmaker with only two modestly budgeted films under his belt be given the opportunity to resurrect a nearly-forgotten property originated by a box office titan? Who knows?

Will a character who never quite managed to step out of the darkness of his relative obscurity have another chance for his day in the sun? Who can say?

But with the current interest in and box office success of both horror and superheroes these days, and a filmmaker like Ruben at the helm, I’d wager that Darkman’s future might stand a pretty great chance at being brighter than ever before.

The post ‘Darkman’ Within: Why Josh Ruben’s Horror Comedy ‘Werewolves Within’ Is a Promising Primer for the Filmmaker’s Dream Project appeared first on Bloody Disgusting!.

That’s a great joke, the first of many in the delightful film from director Josh Ruben and screenwriter Mishna Wolff. To some, the juxtaposition of Mr. Rogers’s words and scary music is ironic and laughable, rendering the kindly old minister’s life philosophy as impotent and ridiculous against the threat of monsters. While Ruben and Wolff clearly welcome the audience’s laughter, it’s also clear that the movie isn’t interested in making fun of Mr. Rogers’ ideals. Instead, Werewolves Within is a horror movie in which listening and love, of ourselves and of our neighbors, is more powerful than any evil. 

The filmmakers spread that belief through the movie’s protagonist, Forest Ranger Finn Wheeler, played by the endlessly charming comedian Sam Richardson. From his very first scenes, Finn establishes himself as a nice guy, one who struggles to find the balance between being honest about his wants and being respectful to others. 

At first, Finn comes off as a bit of a pushover. We meet him as he’s driving to his new post in the New England town of Beaverfield, leaving a message for his estranged girlfriend. “Give me a call,” Finn says toward the end of the message. But he quickly catches himself and amends the command to say, “or don’t, your choice.” Again, he catches himself and again amends his statement to say, “I would like to hear from you,” before proudly declaring, “this is me saying what I want.”

In his introduction, Finn seems indecisive and weak-willed, making him a poor choice to come to Beaverfield. The tiny town is being torn apart by the proposed pipeline, with some certain that the addition will destroy their idyllic abode and others desperate for the payout the company is offering.

Finn finds himself caught in the town’s division almost immediately. Upon entering the inn where he’ll be staying, Finn literally stands in between the innkeeper Jeanine Sherman (Catherine Curtin) and oil company representative Sam Parker (Wayne Duvall), as the latter pressures the former to sell her property. When Sam interprets Finn’s observation about the dangers of the pipeline as a threat, the ranger nearly trips over himself to assure the oilman that he meant no offense. 

In the first few scenes, Werewolves Within establishes Finn as a nice protagonist, the latest in a long line of kind-hearted, Mr. Rogers-loving heroes in popular culture. Paddington Bear, as voiced by Ben Wishaw in the wonderful family films by Paul King, and the Jason Sudeikis character Ted Lasso, the American football coach turned English football coach in the show that bears his name, are at the forefront of this movement. One can easily see why such characters would be so popular. Beyond the sheer quality of storytelling involved in their respective features, Paddington and Ted Lasso represent a welcome corrective to the hate-filled anger of the Trump era, much of which was presaged by and continues online. 

But in most cases, characters like these feel wholly fantastic. We like to believe Paddington’s maxim, “If we are kind and polite, the world will be right.” We want to share Ted Lasso’s adoption of Walt Whitman’s advice and be curious instead of judgmental. But these characters deal with relatively low-stakes threats. Sure, Ted must experience the relegation of his team and the dissolution of his marriage, and Paddington faces taxidermy and imprisonment. But these threats back away fairly quickly, leaving our heroes in peace. One could be forgiven for thinking that the kindness preached by these characters only works against such minor threats. 

Werewolves Within takes this same approach and applies it to a truly monstrous story. As the citizens of Beaverfield metaphorically attack one another over the pipeline decision, a werewolf appears to literally attack them, starting with Mrs. Sherman’s husband and a yuppy couple’s dog. Supported only by letter carrier Cecily (Milana Vayntrub), Finn must convince the townspeople to put aside their differences and stay together in the inn, working together to deal with the lupine threat. As the townspeople cast blame on one another, Finn reminds them that they’re all neighbors, all part of the community. 

SPOILERS FOR THE END OF THE FILM BELOW.

As the movie unfolds, the movie endorses Finn’s perspective. Sure, the werewolf still attacks some people, but most of the townspeople die by killing each other. Not only do they fail to stop the actual monster, but they kill more citizens than the werewolf. 

Conversely, Finn stays alive precisely because he puts trust in others and treats them with respect. Even in the film’s climax, when he realizes that Cecily is the werewolf, Finn holds on to his principles. “This town is full of two-faced assholes, and you know it,” Cecily rants at Finn, frustrated that he won’t be mean like the others. In response, Finn’s hero speech is a defense of politeness. “Sorry! I’ve gotta tell you, it’s fucking okay to be nice,” he rants, before catching himself again; “Excuse my language; it’s f-ing okay to be nice.” 

As she transforms into a wolf, Cecily dismisses the idea. “In a dog-eat-dog world, you could be nice,” she sneers before flashing a sharp-toothed smile and saying, “Or you could be me.” By the end of the scene, Finn does have to fight to save his own life, finally (almost) killing her by shoving a snowshoe through her ear. But even then, he refuses to subscribe to a dog-eat-dog philosophy. In fact, it’s his kindness that ultimately saves his life, as he’s rescued from Cecily’s attacks by Mrs. Sherman and by Emerson Flint (Glenn Fleshler), the reclusive survivalist who is convinced by Finn’s invocation of Mr. Rogers. 

By showing us the power of kindness and good neighborliness, the finale of Werewolves Within clarifies the joke in its opening. Yeah, it’s funny that a Mr. Rogers quote appears juxtaposed against threatening darkness. But the darkness does not overtake the quote. Instead, those words shine through and sit above the darkness. 

Werewolves Within shows us that treating others with respect and dignity isn’t suitable to silly premises in kid’s movies and sitcoms. Rather, it’s a powerful weapon to counter evil, far more effective than paranoia and attack. If we listen to ourselves, listen to our neighbors, and act out of love, then we can defeat all sorts of monsters, whether they be masquerading werewolves or aggressive neighbors – just like Mr. Rogers taught us. 

Werewolves Within is now available on all VOD outlets.

The post “Listening is Where the Love Begins”: The Power of Kindness in ‘Werewolves Within’ appeared first on Bloody Disgusting!.

Ruben himself stars alongside Aya Cash in Scare Me, an intimate movie wherein the two characters tell one another scary stories on the fly. Those spooky stories they tell become the tales we as viewers experience in the horror-comedy anthology, brought to life only by Ruben and Cash creatively expressing them to one another within a cabin on a dark winter’s night.

Will Ruben ever return to that method of storytelling in some kind of Scare Me sequel or follow-up? Chatting with BD’s Boo Crew Podcast, he suggests that may indeed be in the cards.

“I’ve thought about [a sequel],” Ruben explains. “I mean, who would’ve thought that anyone would be interested in even exploring something remotely in that world. But there may be something in the works, which is bonkers, so bonkers. Way sooner than I ever thought I would be talking about it. But, we’ll see. It’s a herculean effort to make anything these days.”

Ruben continues, “If I can just stay in the genre, whether it’s creating objects out of space to scare people in a cabin or making werewolf movies, I’ll take it.”

You can listen to the Boo Crew’s full interview with Josh Ruben below.

The post ‘Werewolves Within’ Director Josh Ruben Teases a Potential Sequel to Last Year’s ‘Scare Me’ appeared first on Bloody Disgusting!.

The IFC film was released in a mere 270 locations, and managed to howl its way to $223,000 at the box office over the weekend. That put it in the #12 spot for the weekend, with the box office at large being led by Fast 9‘s $70 million pandemic record-breaker.

Up next, Werewolves Within is coming to at-home Digital & VOD this Friday, July 2.

In the film…

“After a proposed gas pipeline creates divisions within the small town of Beaverfield, and a snowstorm traps its residents together inside the local inn, newly arrived forest ranger Finn (Sam Richardson) and postal worker Cecily (Milana Vayntrub) must try to keep the peace and uncover the truth behind a mysterious creature that has begun terrorizing the community.”

Josh Ruben says that Werewolves Within is an homage to his love for Hot Fuzz, the Coen Brothers, and Arachnophobia, but notes that “it’s also about the monster in all of us.”

Meagan wrote in her Tribeca review, “It may not keep you warm all winter long, but Josh Ruben’s latest plays like a joyous hug of a comedy-horror movie full of charisma, violent antics, and entertaining character-driven mystery.”

The post ‘Werewolves Within’ Scares Up $223,000 in Limited Release; Coming to VOD This Friday appeared first on Bloody Disgusting!.

IFC Films will bring Werewolves Within to limited theaters on June 25 and VOD/Digital July 2, and we’ve got THREE PAIRS of TWO TICKETS to a special screening next week!

The screening takes place on Tuesday, June 22nd at the Aero Theatre in Santa Monica, California, presented by IFC Films, Beyond Fest and American Cinematheque.

“The screening starts at 7:30pm and will feature a Werewolf themed pre-show, a virtual introduction and complimentary concessions,” we’ve been told.

Those who live in the Santa Monica area can send me an email at JOHNSQUIRES@BLOODY-DISGUSTING.COM with the subject “Werewolves Within” giveaway. That’s all the information I’ll need, and I will pick three winners at random this weekend. Good luck to all!

In the film…

“After a proposed gas pipeline creates divisions within the small town of Beaverfield, and a snowstorm traps its residents together inside the local inn, newly arrived forest ranger Finn (Sam Richardson) and postal worker Cecily (Milana Vayntrub) must try to keep the peace and uncover the truth behind a mysterious creature that has begun terrorizing the community.”

Josh Ruben says that Werewolves Within is an homage to his love for Hot Fuzz, the Coen Brothers, and Arachnophobia, but notes that “it’s also about the monster in all of us.”

The post [Contest] Win a Pair of Tickets to See ‘Werewolves Within’ in Santa Monica, California on June 22! appeared first on Bloody Disgusting!.

Forest ranger Finn Wheeler (Sam Richardson) embraces his new assignment in the cozy little town of Beaverfield, mainly because it offers the distance his girlfriend demanded of their relationship. The unflappably charming Finn barely settles into his temporary living arrangement at the Beaverfield Inn before he’s getting to know the colorful residents of the town through their vocal opinions on the new pipeline construction project that’s creating major division among them. Then he discovers that a brutal murderer is hiding among them, and a severe snowstorm traps them all together at the inn. Finn teams up with postal worker Cecily (Milana Vayntrub) to attempt to keep the peace and find the culprit before it claims their lives.

Written by Mishna Wolff, Werewolves Within spends time introducing its cast of suspects, ensuring each has motivations and personality traits that make them viable candidates for murder. Outside the plucky central pairing of Finn and Cecily, the Beavefield denizens run the gamut of archetypes, from overbearing conservatives to rowdy ruffians to the snooty liberals. Look for obvious red herrings and shady politicians to boot, all played by actors with a reputation for comedy, including Cheyenne Jackson, Michaela Watkins, and Harvey Guillén. Wolff and Ruben poke fun of them all, putting their flaws front and center in the lineup of suspects.

If it’s not already clear, Ruben’s sophomore effort emphasizes comedy over horror. Many of the kills are off-screen, at least at first, to preserve the mystery. However, the filmmaker isn’t afraid to spill some blood where it counts. Because of the murder mystery format, Werewolves Within plays less like a conventional werewolf feature and more like a comedic Needful Things. Beaverfield residents can barely co-exist peacefully from the safety of their homes but put them together in a pressure cooker scenario, and mistrust breeds explosive chaos that threatens to outshine the werewolf in terms of violence.

Ruben gets to expand his scope here with a more extensive cast and multiple set pieces to play with, and it’s clear he’s having a blast. The social commentary can get a little clumsy and heavy-handed at times, at least until the mayhem kicks into high gear. The whodunit aspect sometimes veers into predictable territory, too. Still, Richardson’s performance as the endlessly charming Finn soothes most flaws, imbuing significant rooting interest. The macabre sense of humor is also winsome.

Expectations likely will play a key role in enjoyment. Werewolves Within is less interested in werewolves and more interested in exploring how the possibility of one hiding in plain sight can turn a town inside out. It does so by tilting the scale heavily in favor of comedy over scares. The final reveal is visually silly, but that’s also the point. It may not keep you warm all winter long, but Ruben’s latest plays like a joyous hug of a comedy-horror movie full of charisma, violent antics, and entertaining character-driven mystery.

Werewolves Within made its World Premiere at the Tribeca Film Festival and will release in theaters on June 25.

The post [Tribeca Review] ‘Werewolves Within’ Showcases Comedic Side of Whodunit Paranoia appeared first on Bloody Disgusting!.

IFC Films will bring Werewolves Within to limited theaters on June 25 and VOD/Digital July 2.

In the film…

“After a proposed gas pipeline creates divisions within the small town of Beaverfield, and a snowstorm traps its residents together inside the local inn, newly arrived forest ranger Finn (Sam Richardson) and postal worker Cecily (Milana Vayntrub) must try to keep the peace and uncover the truth behind a mysterious creature that has begun terrorizing the community.”

Josh Ruben says that Werewolves Within is an homage to his love for Hot Fuzz, the Coen Brothers, and Arachnophobia, but notes that “it’s also about the monster in all of us.”

Check out the trailer below and see if you can spot the lycanthrope…

The post ‘Werewolves Within’: Official Trailer for Josh Ruben’s Video Game Adaptation Unleashes the Beast [Video] appeared first on Bloody Disgusting!.

Following the Sundance World Premiere of his horror-comedy Scare Me, which Meagan Navarro reviewed and called “imaginative and cozy”, Josh Ruben directed Werewolves Within, a horror-comedy whodunnit that IFC Films will bring to limited theaters on June 25th before sending it to VOD/Digital July 2.

The “whatdunit” is based on Ubisoft’s virtual reality video game, albeit that was set in a fictitious medieval town. In the film, “After a proposed gas pipeline creates divisions within the small town of Beaverfield, and a snowstorm traps its residents together inside the local inn, newly arrived forest ranger Finn (Sam Richardson) and postal worker Cecily (Milana Vayntrub) must try to keep the peace and uncover the truth behind a mysterious creature that has begun terrorizing the community.”

Ruben says that Werewolves Within is an homage to his love for Hot Fuzz, the Coen Brothers, and Arachnophobia, but notes that “it’s also about the monster in all of us.”

“I grew up near the same small town where we shot Werewolves Within,” he adds. “As a kid, I’d freak myself out, making up monster stories, running through the woods, pretending I was Chief Brody, fighting creatures in the brush (I LOVED Jaws — hell, I loved horror). That hometown experience, where neighbors knew your business (whether you liked it or not) is so much of what makes Werewolves so personal. But, as much as I love horror movies, nothing scares me more than people.”

Here’s your first taste of Ruben’s “whatdunit” that urges you to be a good neighbor…

The post ‘Werewolves Within’ Trailer Promises a Horror-Comedy Whodunnit With Teeth [Video] appeared first on Bloody Disgusting!.

In the film, “Shenanigans ensue when a massive blizzard isolates a small Vermont town, causing simmering resentments to boil over as the oddball townspeople are one by one picked off by a mysterious creature.”

Sam Richardson (“Detroiters”, “Veep”) and Michael Chernus (Netflix’s “Easy”) both star in the film that’s based on Ubisoft’s virtual reality video game, set in a fictitious medieval town where a werewolf is attacking the townspeople, and players must guess who among them is the werewolf in disguise, as previously explained by Deadline.

EW premiered the first ever stills from the film noting that “the lycanthropically-themed horror-comedy is both a whodunit and a whatdunit.”

The wait won’t be long as IFC Films will release Werewolves Within in limited theaters on June 25th before sending it to VOD/Digital July 2.

Trailer soon!

The post [First Look] ‘Scare Me’ Director’s ‘Werewolves Within’ a Horror-Comedy “Whatdunit”! appeared first on Bloody Disgusting!.

This year was different in many ways, but for me, it’s extra strange because it’s the first time in 20 years I didn’t compile a “best of” list. I always look forward to celebrating the year in horror because I get to flex a bit and shine the light on so many films often overlooked by mainstream entertainment sites. However, this year I’ve felt a bit lost.

“The worst year of our lifetime” was a vastly different experience for each individual, but for me, it’s been fraught with tension and anxiety, constantly soaked in the fear of losing the business that Tom and I have invested two decades worth of blood, sweat and tears into, or even my parents, one who is breathing with a single lung. If the pandemic wasn’t enough to constantly stress about, I had to continually fight with politically-charged, defiant family members amidst the most strenuous political climate in recent memory. Woe is me, I know, but know that I feel for any of you who have struggled in way worse ways through this treacherous year. I send all my positive energy your way.

On the brighter side of things, I did have a baby. This may sound like an excuse (maybe it is?), but half the reason I took so long was because of my dedication to the site and all of you. It’s not easy to let go. Thankfully, I have John Squires in my corner, the first person I’ve ever trusted to run the site if I were to drop dead (it’s 2020, just go with it), not to mention the entire Bloody Disgusting team, all of who continually blow my mind with the top-notch horror content that they all put their entire heart and souls into. This brings me to Meagan Navarro, Bloody Disgusting’s rock, our very own horror superhero. Her commitment to the genre is unmatched and has taken the lead here at Bloody when it comes to reviewing movies. As much as I kicked and screamed (in my head), it just felt appropriate to pass the baton and have her do this year’s “best of” list (read it here).

This year just fucking sucked and the last thing I wanted to do was consume any content that made me feel like shit. My head just wasn’t in the right place. I sort of “floated” my way through 2020, taking it day by day. When it came time to even think about the best films of the year, I couldn’t focus. So, while Meagan is taking the reigns on honoring the best of the best, I’m going in a different direction by celebrating the films that brought me joy in an otherwise joyless year. Here they are, in no particular order.

Underwater (d. William Eubank; 20th Century Studios)

Before the pandemic, I was a young and innocent dad-to-be, just enjoying my buckets of popcorn and my weekly trip to the theater in hopes of being mildly entertained by a horror film. I expected pretty much nothing from Underwater, being that it had suffered through a painfully long production and release, only to be “dumped” in January by Disney’s newly-minted 20th Century Studios. But I’m an optimist (I am?!), a fan of William Eubank’s The Signal, and also thought the trailers carried the distinct Alien vibe that I’m always jonesing (Jonesy?) for. And say what you will about Twilight’s Kristen Stewart, but I kind of fucking love her. The very idea that maybe she could give us her own version of a Ripley was pretty exciting to me. In short, it was gonna take a lot to disappoint me.

Flaws be damned, Underwater is a mega energy bomb that comes out of the gate with fists flying and never slows down. Eubank somehow not only squeezes all the pressure he can out of the claustrophobic environment, but also finds a way to deliver on a grand scale. The dirty, dark and grimy found-footage-like camerawork creates a constantly unnerving underwater atmosphere that only adds to the believability of the grandiose finale that can only be described as Lovecraft meets Cloverfield. It’s epic.

If anything, Underwater fully delivers on its promise. Maybe even over-delivers.

Gretel & Hansel (d. Osgood Perkins; Orion Films)

I bleed for slow burn horror and Osgood Perkins always delivers in spades, this time with his hauntingly beautiful Gretel & Hansel, best described as an A24-light fairytale that would pair nicely with The Witch or The Blackcoat’s Daughter. I’m bummed that Orion Pictures is going in a new direction with their horror as they were taking some truly daring swings with their productions.

A theatrical release, Gretel & Hansel is anything but mainstream, as it appears that Orion gave Perkins a paintbrush and let him do whatever the hell he wanted with it; he has such a unique eye and offers something different in a sea of the same. It’s colorful and atmospheric, yet tremendously bleak, feeling unsafe at all times. The result is an impressively atmospheric and gorgeous film that’s also unapologetically dangerous. Add this one to your satanic horror starter pack.

The Invisible Man (d. Leigh Whannell; Universal Pictures)

Leigh Whannell is a horror master, and with The Invisible Man, he finally made the Universal Monsters scary again. I just wanted to forget what was going on in the world and thankfully I haven’t been this immersed in a movie in a long time.

The tension is immediate and never lets up, delivering an unapologetic and punishing horror film that leaves you with all the feels. Whannell is a horror magician, this time using sleight of hand to continually trick the audience, dazzling with a handful of surprises. It’s all fun and games with Whannell, who still manages to give the film a voice and something important to say without hammering the viewers over their heads with the message. As for Elisabeth Moss, she is outstanding, propelling The Invisible Man to all-time great status.

The Hunt (d. Craig Zobel; Universal Pictures)

The world was ending, I was the only one in the supermarket ever wearing a (makeshift) mask, and toilet paper was long gone. My anxiety was through the roof, movie theaters were on the verge of closing, and I had a crushing fear that this pandemic would somehow destroy the business I spent 20 years building. Thankfully, Craig Zobel’s The Hunt was surprise-released on PVOD and provided me with everything I needed at the moment. The Battle Royale-meets-Hostel splatterfest is pure escapism, hitting a sweet spot of bloody and chaotic fun that wasn’t preachy but still managed to shock and awe.

The Hunt is actually surprisingly harmless, and never lets its agenda-less commentary get in the way of having a good time. It aims to please, carrying an unlimited supply of hilarious gore gags and boasting an all-time great performance by the infinitely great Betty Gilpin. Next to Freaky and Monster Hunter, this may be the best popcorn horror film of the year.

We Summon the Darkness (d. Marc Meyers; Saban Films)

The only thing that makes a satanic horror film even better is when you inject it with metal. This year’s Pyewacket is We Summon the Darkness, an 80s-set indie road trip thriller that is blessed with the mesmerizing Alexandra Daddario, who makes us fall in love with her bad side.

The film does an impressive job in its quest for authenticity from the music to the excellent fireside chat about Metallica and Megadeth that I’ve had dozens of times myself. The movie does have a second act lull when the two boys are trapped in the pantry, but the three girls are so entertaining it keeps it all together ahead of the crazy finale.

We Summon the Darkness is just so lovably fun and would pair nicely with other heavy metal horror films like Deathgasm, The Devil’s Candy, Lords of Chaos, Heavy Trip, or even Black Roses.

Unhinged (d. Derrick Borte; Solstice Studios)

Talk about a perfectly-timed quasi-slasher that was nothing short of cathartic in the middle of this nightmarish year.

Unhinged is pure adrenaline, a grimy, grit-your-teeth thriller that pulls no punches and delivers incredibly fun nonstop ultra-violent action.

The film captures the essence of the 1980s with Russell Crowe delivering a vicious performance reminiscent of slashers of that time, and epic Schwarzenegger-esque one-liners that help hammer it all home.

The horror-tinged Unhinged is astoundingly unapologetic and quite brutal, a film that should be nothing short of a home run with Bloody Disgusting readers.

Scare Me (d. Josh Ruben; Shudder/RLJE Films)

This was a rough year and all I wanted to do this fall was get toasty warm next to a fire, drink some whiskey and watch horror movies. The one that really resonated with me was Josh Ruben’s Scare Me, an infectiously fun thriller that would have snuck into my top ten list had I compiled one this year.

Ruben daringly breaks the “show, don’t tell” rule of filmmaking, putting viewers in the classic cabin-the-the-woods setting where Ruben, alongside the always magnetic Aya Cash, share horror campfire stories in an attempt to scare each other silly. Scare Me is pure comfort food, a super fun, hyper-energetic, and engaging film that took me back to the good times where I’d sit around with my friends all night watching horror movies and talking about them until the break of dawn.

The Mortuary Collection (d. Ryan Spindell; Shudder/RLJE Films)

My love for Ryan Spindell‘s The Mortuary Collection cannot be overstated. It’s not just one of the best horror films of the year, but it’s easily one of my favorite horror anthologies ever made.

Anthologies are incredibly hard to execute, especially when you’re attempting to find coherency between all of the shorts. The Mortuary Collection harkens back to the all-time great “Tales from the Crypt” series with the look and feel of last year’s Scary Stories to Tell in the Dark adaptation, only without the $25 million dollar price tag. From the production design to the special effects, it’s downright shocking how good this independent production is.

The Mortuary Collection not only calls back to some of our favorite horror anthologies, but also legendary filmmakers from Sam Raimi to John Carpenter. It’s a wild and crazy film that has no boundaries and pushes the gross-out gags to the very limit, while also delivering excellent punchlines that the Cryptkeeper would have loved to cackle over.

I only ask one thing from a filmmaker – don’t fucking bore me. With Mortuary Collection, Spindell crafts an infinitely rewatchable and endlessly fun anthology that’s the closest thing we’re getting to a new “Tales From the Crypt” anytime soon.

Freaky (d. Christopher Landon; Universal Pictures)

Christopher Landon is one of the few filmmakers I trust to mix horror and comedy. Happy Death Day and its sequel Happy Death Day 2U have already withstood the test of time, proving to be light-hearted horror classics that are infinitely fun to watch. With Freaky, co-written by Michael Kennedy, Landon invents his own Friday the 13th, with this one turning Vince Vaughn into the slasher.

While Friday the 13th didn’t start having fun with its tropes until The Final Chapter, the franchise has become known for its over-the-top fun nature that’s become part of its DNA. Freaky celebrates that “fun” side of the slasher genre, offering up a horrific take on Freaky Friday, imagining if the “final girl” swapped bodies with the killer. It’s clear Landon is a lifelong horror fan as he showers the film with loving tributes, nodding to several slasher greats that all helped set the table for Freaky’s existence.

It’s hard juggling multiple genres, but Landon is a master, understanding that the comedy must come in the context of the scenes and not be jammed in just to provide a moment of slapstick or parody. With that, Freaky is a slasher movie first and foremost, but it’s also extraordinarily fun. Vince Vaughn’s performance is just the icing on the cake.

Monster Hunter (d. Paul W.S. Anderson; Screen Gems)

After an insanely tumultuous year, it’s nice to go out on a high note, especially one this fun. I have a contemptuous relationship with filmmaker Paul W.S. Anderson that has eased over the years. After the nasty, brutal and (at the time) frightening Event Horizon, I expected the same with his adaptation of Resident Evil. For an R-rated zombie movie, it’s extraordinarily light on the blood and guts, and each sequel shambled even further from its horror roots. While Anderson returned for the final three films in the series, he didn’t truly find his voice as a filmmaker until the grand finale.

Paul W.S. Anderson is in final form with Monster Hunter, a fresh start for the filmmaker who puts his love of 80s action “horror” on display, harking back to classics like Aliens (the spider sequence, oh my!) and Predator, and even throwing tribute to Steven Spielberg’s Jurassic Park. It’s big, crazy, nonstop popcorn-munching fun. There’s immense action, a spectacle of special effects (some great, some terrible), and Milla Jovovich shines, as always, alongside the ever-so-charming Tony Jaa. Monster Hunter is far from perfect but it’s exactly the reason theaters exist and it’s kind of a shame that most will be experiencing it at home. I’m really hoping the pandemic doesn’t hurt sequel chances because, god damn, this one is a blast from start to finish.

The post Brad Miska Highlights 10 Horror Films That Brought Him Joy in 2020 appeared first on Bloody Disgusting!.

What could go wrong at a cabin in the woods? In horror, everything can and will go wrong. Poor Fred (Ruben) learns this the hard way when he rents a cabin in the Catskills to break his writer’s block. There Fred meets successful author Fanny, played by the always great Aya Cash (“The Boys”, “You’re the Worst”).

When the strangers experience a power outage, Fred and Fanny decide to pass the time by telling each other scary stories. But the more Fred and Fanny commit to their tales, the more the stories come to life. As the horrors of reality manifest, Fred confronts his ultimate fear that Fanny may be the better storyteller, forcing him to craft the most horrific tale imaginable and put an end to the competition for good.  Chris Redd‘s Carlo gives the pair a story time assist.

If you’ve never participated in a Twitter Watch Party before, it’s simple: Press play at the start time (6pm PT/9pm ET) and follow the hashtag #ScareMeWatchParty to view real-time conversation on the film. If you want to join in, tag your Tweet with #ScareMeWatchParty. That’s it!

Be sure to follow along with the hashtag as well as Bloody Disgusting on Twitter, and keep your eyes peeled for a chance to win a Scare Me digital code for iTunes in anticipation.

To kick off your weekend with a killer time, join us for the #ScareMeWatchParty. 

The post Join Bloody Disgusting This Friday for a ‘Scare Me’ at Home Twitter Watch Party! appeared first on Bloody Disgusting!.

When the strangers experience a power outage, Fred and Fanny decide to pass the time by telling each other scary stories. But the more Fred and Fanny commit to their tales, the more the stories come to life. As the horrors of reality manifest, Fred confronts his ultimate fear that Fanny may be the better storyteller, forcing him to craft the most horrific tale imaginable and put an end to the competition for good.  Chris Redd‘s Carlo gives the pair a story time assist.

Per my review out of Sundance earlier this year, “As a battle of wits between two endlessly entertaining characters, over the nature of horror movies and scary stories no less, Scare Me feels like a spooky, cozy warm blanket worth cuddling up to by the fire.”

In other words, if you haven’t seen one of the year’s most charming horror-comedies yet, this is the perfect time of year to curl up under a blanket and watch.

With Scare Me arriving on Digital HD and VOD today, you now have more ways to do just that!

The post ‘Scare Me’ Celebrates Digital Release with New Character Posters appeared first on Bloody Disgusting!.

Scare Me substitutes a campfire with a cabin in the woods where two strangers (Ruben and Cash) tell scary stories during a power outage.

Shudder is kicking off the Halloween season with an October 1st release for Scare Me, which now has a brand new trailer that settles in for scary storytime.

Our very own Meagan Navarro attended the film’s world premiere, writing in her review that “Scare Me offers up imaginative and cozy horror-comedy.”

She adds: “As a battle of wits between two endlessly entertaining characters, over the nature of horror movies and scary stories no less, Scare Me feels like a spooky, cozy warm blanket worth cuddling up to by the fire.”

Scare Me is the perfect Halloweentime horror story to kick off your month-long celebration.

The post ‘Scare Me’ Trailer: Storytime from a Cabin in the Woods! [Video] appeared first on Bloody Disgusting!.

The streaming service kicks off the Halloween season with Josh Ruben‘s directorial debut on October 1st, also sharing with EW the film’s first teaser trailer in which Cash and Ruben – who also stars – attempt to scare the shit out of each other in a cabin in the middle of the woods.

Our very own Meagan Navarro attended the film’s world premiere, writing in her review that “Scare Me offers up imaginative and cozy horror-comedy.”

She adds: “As a battle of wits between two endlessly entertaining characters, over the nature of horror movies and scary stories no less, Scare Me feels like a spooky, cozy warm blanket worth cuddling up to by the fire.”

Halloweentime already looks to be lit.

The post Shudder’s ‘Scare Me’ Trailer Brings Scary Stories to Life [Video] appeared first on Bloody Disgusting!.

Sam Richardson (pictured in “Detroiters”, “Veep”) and Michael Chernus (pictured below in Netflix’s “Easy”) have joined the cast of the horror-comedy, based on Ubisoft’s virtual reality video game, set in a fictitious medieval town where a werewolf is attacking the townspeople, and players must guess who among them is the werewolf in disguise.

In the film, “Shenanigans ensue when a massive blizzard isolates a small Vermont town, causing simmering resentments to boil over as the oddball townspeople are one by one picked off by a mysterious creature.”

Chernus will play Pete, says the site, who is married to Trish but does not share her beliefs as staunchly. He considers himself a charmer, but just comes off as an overly friendly sleaze who can get a bit handsy especially after a glass of merlot.

The film was adapted by screenwriter and author Mishna Wolff.

The post ‘Scare Me’ Director Adapting Ubisoft Game ‘Werewolves Within’ appeared first on Bloody Disgusting!.

The plot follows Fred (Josh Ruben), an aspiring writer who rents a snowy cabin for a weekend as an intended writer’s retreat. The story ideas don’t flow so easily, though, despite him trying his best to spark his imagination. It so happens, though, that his cabin neighbor is a best-selling horror novelist, Fanny (Aya Cash). When a storm causes a blackout in the neighborhood, Fanny shows up at Fred’s door and challenges him to tell a scary story. As the pair embark on a battle of wits and storytelling, Fred’s insecurities come to the forefront as he’s forced to acknowledge that Fanny is far better at spinning yarns. As a result, the tensions between them continue to mount over the evening, and it threatens to spill over with the arrival of a third member to their scary story party.

Though his character may struggle to tell a story, Ruben proves far more adept a storyteller behind the screen. Making his feature debut, Ruben pulls triple duty; starring, writing, and directing this razor-sharp horror comedy. Scare Me makes for a shining example of minimalism done well. Distilled to its most simple mechanics, Ruben’s feature is almost entirely set within the confines of Fred’s cabin. Save for effective framing, camerawork, and lighting to emphasize the shadows and firelight glow, there’s no fancy bells and whistles involved. Just a simple, pared back film that lets its two leads do a lot of the heavy lifting. Luckily, all of the talent involved take a simple concept that could easily unravel at every turn and transform it into an engaging narrative that reminds us of the profound effect our imagination can play, and how an excellent story can sear into our minds.

Ruben is impressively expressive as Fred. His comic timing is impeccable, a must for a successful horror-comedy, but it’s his physicality that really makes the character so engaging. As fun as he is to watch as he acts out Fred’s stories, it pales in comparison to the brilliance of Cash. Even if the film were a complete flop, and it isn’t, what Cash puts out in her dynamic performance is incredible. Fanny’s acerbic wit and bullying nature as she pokes, needles, and flings barbs at Fred, coaxing him into honing his craft, would be antagonistic in lesser talent’s hands. In Cash’s, she manages to make her character empathetic; we embrace her flaws. When Fanny eventually exposes her vulnerabilities, Cash makes the transition so effortless. The volley between Fred and Fanny is the core essence of Scare Me.

The final act does veer into predictable territory, which potentially is intentional and apropos of the characters involved, and the middle act dips in energy. Just when the narrative seems to start spinning its wheels, enter Chris Redd‘s Carlo to inject a new dose of energy and laughs. Ruben puts storytelling at the forefront of a deceptively simple film. The quiet and pared back nature won’t be for everyone, of course. But to those that love wisecracking dialogue, clever writing, and a complex dissection on the conventions of writing fiction, Scare Me shines. As a battle of wits between two endlessly entertaining characters, over the nature of horror movies and scary stories no less, Scare Me feels like a spooky, cozy warm blanket worth cuddling up to by the fire.

Ahead of its World Premiere at Sundance, Scare Me was acquired by Shudder.

The post [Sundance Review] ‘Scare Me’ Offers Up Imaginative and Cozy Horror-Comedy appeared first on Bloody Disgusting!.

Deadline reports that Sam Richardson (“Veep”) will star in the film.

“The Werewolves Within fantasy video game is set in a fictitious medieval town where a werewolf is attacking the townspeople. In a Mafia-style format, the players of the game must guess who among them is the werewolf in disguise.”

Mishna Wolff is adapting the game, which was released by Ubisoft.

The post Virtual Reality Game ‘Werewolves Within’ Being Turned into a Horror-Comedy Film appeared first on Bloody Disgusting!.